Nannette Matilac

The AlunAlun Dance Circle continues to fulfill its mission of promoting intangible cultural heritage through the conservation and promotion of pangalay which is also known as igal and pansak among the indigenous groups of Southern Philippines. 

Ligaya Amilbangsa wearing mask in a performance at the CCP Little Theater on the occaion of ALAB NCCA in April 2016. Photo courtesy of NCCA.

January 15, 2016.   Pangalay Suite for the East West Center and the East West Center Alumni Association, Philippine Chapter.  Venue was at the Pandanggo and Polkabal function rooms of the Manila Hotel, Roxas Boulevard. The production was made possible with Ligaya Amilbangsa as choreographer and dancer. Dancers: Nannette Matilac, Joy Ricote, Sarah Lumba, Mannex Siapno, Levi Azarcon, Sarri Tapales, and Lyn Literal; technical supervisor for music and visual projection: Milabel Cristobal.

January 28, 2016.  At the Dusit Hotel, the ADC graced the Launch of Demoncratic Party Development Bangsamoro (DEPAdev) sponsored by the European Union, the Konrad Adenauer Stiftung (KAS) Philippines Office and the Institute for Autonomy and Governance (IAG). The performers: Ligaya Amilbangsa, Nannette Matilac, Temay Padero, Lyn Literal, Mannex Siapno, and Levi Azarcon.

February 5, 2016. De La Salle University (DLSU) invited the ADC to perform two shows under the Action Program of DLSU Culture and Arts Office. Each presentation started with the lecture-demonstration titled “What is Pangalay?”. The intention of the program is to provide informative and entertaining performances which will enrich the awareness of DLSU students about the arts. Each show lasted for 20 minutes followed by open forum and interaction with the audience. ADC members who participated in this worthwhile activity: Ligaya Amilbangsa, Louanne Calipayan, Punch Gavino, Temay Padero, Mannex Siapno, Lyn Literal with Milabel Cristobal as technical person.

March 11, 2016.  On the Occasion of Women’s Month 2016, the Barangay San Lorenzo and the AlunAlun Dance Circle (ADC) presented “Pangalay ng Bayan: Alay sa Kababaihan 2016, Celebrating Women Through Dance.” This was open to the public with venue at the Covered Court of San Lorenzo Village. It showcased ADC’s innovations to keep pangalay relevant and appealing to contemporary audiences. These include the use of masks, rhythmic sounds, improvised costumes, puppets, different types of musical accompaniment, and props, without losing the intrinsic character of pangalay. There was good interaction with the audience during the Open Forum after the performance. The ADC members who joined this show: Ligaya Amilbangsa, CB Garrucho, Louanne Calipayan, Mariel Francisco, Temay Padero, Milabel Cristobal, Lyn Literal, Mannex Siapno, and Levi Azarcon.

 March 20, 2016. Original pangalay choreographies in harmony with the theme of Filipinas provided a fitting opening to the launch of the FILIPINAS exhibition at the 4^th Floor of the National Museum (old Finance Building), 5 p.m.  FILIPINAS photo exhibit features images of distinguished Filipino women by Isa Lorenzo which was first shown at the CCP in 2006. Ligaya Amilbangsa’s portrait is one of the 30 outstanding Filipinas. FILIPINAS was also exhibited at the UNESCO (Paris) in 2007 and at the Philippine Embassy in Brussels in 2008.

April 28, 2016. ALAB NCCA: The 29th Anniversary Recognition Night, described as “a night of recognition for the tireless cultural workers and a showcase of talent in celebration of the NCCA’s anniversary.” Ligaya Amilbangsa, with the ADC male dancers Jimo Angeles and Mannex Siapno, regaled the occasion with an innovative choreography. Venue was at the Little Theater of the Cultural Center of the Philippines, 5:00 pm.

Below: The women of  AlunAlun performing at FILIPINAS launch, March 20, 2016.

 

 

 

 

 

 

 

 

 

April-May 2016. This marks the start of the project with Museum Volunteers of the Philippines (MVP). The volunteer organization gave a small grant to ADC to implement a project on preserving the craft of making traditiona garments among the Badjao. This is an important project because it aims to encourage the remaining artisans to continue their craft.  Project runs until  first quarter of 2017.

 

The AlunAlun Dance Circle marked its 15th year since the organization’s legal existence in 2000. Here are 15 things to remember and be thankful for about 2015.

Sunday Pangalay Sessions

For 15 years, ADC members and friends continued the practice of holding dance sessions every Sunday, through sultry or stormy weather. The weekly practice has become a tradition.

The Handog Center

On 20 and 21 March 2015, the Handog Center was inaugurated with film showings on the first day and performances on the second day. The Handog Center is another home of the AlunAlun Dance Circle based in Marikina City, with address at 9 JP Rizal corner MH del Pilar streets, Calumpang, Marikina City. The Handog Center is the present (2016) address and office of the AlunAlun Dance Circle. 

Pangalay Handbook

Early in 2015, we learned that the National Commission for Culture and the Arts (NCCA) approved our proposal to make a Pangalay Handbook or manual to aid in the teaching of pangalay. Completed in 2015 by pangalay guru, Ligaya F. Amilbangsa, it will soon be published by the ADC. The book is finished and will be out in 2016!

Children Dancing Pangalay

In 2015, children took center stage as the narrators and dancers in a short film entitled Ang Kuwento ng mga Aninong Sumasayaw (A Tale of Dancing Shadows) written and directed by Nannette Matilac with animation by Ellen Ramos. Produced in 2015 with NCCA support, the short film will be launched in 2016. The child dancers/narrators are Cai Wadi, Hannah Wadi, and Roni Matilac. In a few years, these children will grow into lovely ladies dancing pangalay!

The National Mission Conference

On 20 May 2015, the ADC presented a series of traditional and innovative choreographies for the National Mission Conference with the theme “Gifted to Give.” The performance was held at the Divine Word Seminary in Tagaytay City. The appreciative audience was composed of local and international delegates from the church sector. In the accompanying photo, Nannette Matilac dances the tariray using bamboo clappers with the beautiful mat from Tawi-Tawi as background, held by masked dancers.

2015 Ramon Magsaysay Award

The well-deserved award for Ms. Ligaya Amilbangsa, ADC artistic director, is recognition of her quiet and continuous efforts in preserving intangible cultural heritage. This iconic photo is by Isa Lorenzo.

Pangalay for Teachers’ Development

Two events for teachers were sponsored by the Government Service Insurance System (GSIS) for public school teachers. In July 2015, on the occasion of the Eidl Fitr, the film Ang Pagbabalik sa Tawi-Tawi was shown to an audience of public school teachers, highlighted by a dance performance by ADC dancers. Then on 18 September 2015, Ligaya Amilbangsa gave a lecture with dance demonstration as part of the “KKK: Kalikasan, Kalusugan, Kasaysayan – An Alternative National Seminar Conference for Teachers.”

42nd Kamahardikaan and Agal-Agal Festival

Tawi-Tawi was the original place where Ligaya Amilbangsa started her research on pangalay since the 1960s. The link to the province has grown even stronger in the 21st century. In September 2015, Ligaya Amilbangsa and Louanne Mae Calipayan graced the 42nd Kamahardikaan Festival as judges in the Agal-Agal Festival. (See separate article by Louanne Mae Calipayan.)

Marikina City’s Tribute to ADC Artistic Director

On 28 September 2015, Marikina City hosted a dinner-tribute for Ligaya Amilbangsa at the Marikina City Cultural Center aka Kapitan Moy heritage house. Ligaya was given the honor as one of the city’s most outstanding citizens. The AlunAlun Dance Circle presented a spunky pangalay choreography using music of the Beatles and Michael Jackson – two artists who were unknown to Ligaya because she was so immersed in Sulu culture for decades.

Pangalay at Quezon City’s Diamond Jubilee

On a sultry afternoon on 10 October 2015, the ADC presented a dazzling 20-minute open air performance. This was on the occasion of the 75 th Anniversary of the founding of Quezon City. The performance preceded the street dancing competition.

Museum Volunteers of the Philippines

On 14 October 2015, the ADC led by Ligaya Amilbangsa conducted a lecture with dance demonstration for the members of the Museum Volunteers of the Philippines (MVP) for their Philippine history course. The lecture demo was held at the amphitheater of the Ateneo Professional Schools, Rockwell Center, Makati City. The activity signaled the start of a fruitful relationship with the MVP in 2016.

HABI

The ADC has always supported preservation and development of tangible and intangible cultural heritage, especially those of the indigenous peoples. On 25 October 2015, the ADC participated in the Likhang Habi bazaar that showcased traditional weaving and fabrics of the Philippines. A short repertoire of pangalay choreographies at the open theater of the Glorietta 2 Ayala Malls included an interpretation of Norma Liongoren’s poem by Ligaya Amilbangsa. Norma has always been a close friend of the ADC since its inception.

Ka-loob Benefit Show for the Lumad Youth

On 28 October 2015, the ADC performed for the benefit of the Lumad youth of Mindanao. Dubbed as Ka-Loob, the benefit concert to support the Lumad youth was held at the GT-Toyota Asian Center Auditorium. The live kulintangan accompaniment of ADC’s performance was rendered by the members of UP Tugma from the UP College of Music.

The Sama Dilaut Conference

In less than two months after the Agal-Agal Festival in 2015, Ligaya Amilbangsa and Louanne Calipayan were back to Tawi-Tawi, this time for the 1 st Sama Dilaut (Philippine Badjaw) International Conference held in Tawi-Tawi on 1-3 December 2015. Of course, Ligaya Amilbangsa’s participation was important. She was the first to document Sama Dilaut ritual dances in early 1970s, bringing them to the legitimate stage at the Cultural Center of the Philippines. Ligaya delivered the paper entitled: “Negotiation and Accommodation of Igal as Aesthetic and Performative Ritual.” The first conference on the Badjaw in the province was held at MSU-Tawitawi College of Technology and Oceanography.

Friends in Media and from All Over the World

We thank our friends and co-advocates who work for the preservation of traditional cultural heritage. We thank the print, broadcast, and online media coverage in 2015 that helped in disseminating information about what the AlunAlun Dance Circle is doing to preserve pangalay (aka igal or pansak) and related arts of Southern Philippines.

On 8 March 2014, on the occasion of International Women’s Day, the ADC in cooperation with DocuCinema Media Collective and the Angel C.Palanca Peace Program Foundation (FEU) exhibited to over 500 students and academicians the full-length documentary, “Ang Pagbabalik sa Tawi-Tawi” (Return to Tawi-Tawi). It is about how Ligaya Amilbangsa, since 1969,  researched and documented pangalay which is also known as igal or paunjalay.The film showing was held at the Mini Auditorium, Technology Building, FEU Manila

 

On 4 March 2014, Ligaya Amilbangsa, Nannette Matilac and Temay Padero with the participation of Ruby Varona performed at the Marble Hall of the Museum of the Filipino People, during the book launch of “OF WAR AND PEACE: Lantakas and Bells in Search of Foundries in the Philippines”. Dr. Abe Sakili played the pangalay beat as the ADC members danced. The members of the audience waved colourful paper flowers (handmade by Ligaya Amilbangsa) as part of the ritual. Ruby Varona performed the Sikado, a Philippine martial art followed by Igal Kabkab (fan dance), an original choreography by Ligaya Amilbangsa.

Earlier, on 24 and 26 February 2014, “Ang Pagbabalik sa Tawi-Tawi” was also shown at the UP Diliman. The UP Islamic Studies presented the film as a way to celebrate the National Arts Month of February 2014. Pagbabalik sa Tawi-Tawi is co-produced by LotusBlaze Projects/DocuCinema Media Collective and ADC.

 

 

The UP Anthropology Department celebrated its centennial in Feb 2014 through pangalay dance and the exhibition of the documentary films “Sayaw sa Alon” and “Pagbabalik sa Tawi-Tawi”. The project is in cooperation with CSSP Folklore Studies Program. In between the film showings, pangalay workshops were conducted by Louanne May Calipayan.

[The Year of the Horse was a big kickstart!  Here is the blog of ADC General Secretary and Board Member  Mariel N. Francisco] 

31 January 2014: DANCING WITH THE LUNAR NEW YEAR

BY Mariel N. Francisco

Our hosts apologized in advance for the scaled-down audience because Jan. 31, Chinese New Year, turned out to be a holiday. It was too late to change the date of the Cultural Night of the inaugural conference of the Philippine Association for the Study of Culture, History and Religion, as invitations had been issued way back in October 2013. Students who were expected to make up the audience had taken off for the three-day weekend, leaving the lovely Plaza San Jose of Holy Angel University in Angeles City sparsely filled.

But to us, AlunAlun Dance Circle, our audience, big or small, deserved our best. Nannette, Temay, Gimo, Rama and I rehearsed our presentation and prepared for our trip with a sense of mission, but also of fun. It was after-all a balik-HAU for us, for we had performed in its state-of-the-art theater a few years ago in celebration of Arts Month. This time we were invited by one of the PASCHR convenors, Dr. Grace Odal Devora of UP Manila. The conference, she said, aimed to create a new network of academicians around the country and in the Asian region. Familiar with pangalay, she knew it would be a perfect fit for the conference theme: “Culture, History, Religion and Maritime Links Among the Islands of the Philippines and Beyond.” Fittingly too, the conference was co-sponsored by HAU’s Center for Kapampangan Studies. Although the Capampangan heartland is landlocked, the very name of the province bespeaks its beginnings on the shores (pampang) of the mighty Pampanga River. Our Artistic Director, Ligaya Amilbangsa, saw the relevance of pangalay to all this with her usual insight and enthusiasm. Indeed no dance could be more appropriate to demonstrate our pre-colonial culture flourishing in coastal settlements, than pangalay. Its undulating arm movements evoke the waves of the sea or fronds of seaweeds and palm trees, its flowing quality the sense of the ocean’s infinity, its mincing steps the limited space of the lepa or houseboat. The program we prepared aimed to “educate and entertain” by highlighting all these aspects which defined our indigenous identity and our close affinity with our Asian neighbors. Significantly, the conference posthumously honored the Pampango writer, diplomat, artist and bon vivant Emilio “(Abe”) Aguilar Cruz as “Prophetic Artist” for having foreseen way back in the 1970’s the coming-of-age of Southeast Asian identity.

As has been our practice, we introduced our 15-minute presentation with “What is Pangalay?” showcasing the rich movement vocabulary of pangalay with all its finger, hand, and arm gestures, footwork, and body stances. Even as I was doing the annotation I observed that everyone was paying close attention to the demonstration. Warm applause burst out in the middle of the menfolk’s energetic and vivid rendition of fishermen diving and spearing catfish in “Tauti”. Nannette’s creative blocking of her solo number on the steps leading to the stage further increased rapport with the small but captivated audience. Aside from our own performance we had a chance to appreciate the song and dance numbers of the HAU Performing Arts Group coordinated by Raymond Petersen. True to Pampanguenos’ reputation as artists, the numbers were impressive in every aspect, from the elegant costumes to the colorful props. A memorable number was the dance featuring discrete parts of a Pampanga parol, which were assembled in striking visual arrangements at various points throughout the dance.

The much-anticipated dinner was served at the Museo ning Angeles just across the street from the HAU campus. A homey vintage structure (1920) which used to be the town municipio, it has been restored and turned into a Culinarium to showcase the culinary culture which Pampanga is famous for. Windows thrown wide open brought in a cool breeze and showed the imposing Holy Rosary Parish Church festively lighted up against the night sky. But aside from the seductive spread of chicken asadong matua (marinated in calamansi and soy sauce, and simmered in onions and tomatoes), the dory with black beans and ginger, and double servings of refreshing pako salad, we were most thrilled to hear feedback on our performance.

Upon being introduced to the ebullient conference keynote speaker, Dr. Amarjiva Lochan, President of the South and Southeast Asian Association for the Study of Culture and Religion based in India, we harkened to his comments expectantly. “When you started dancing, the audience immediately fell into a hush!” he recalled with amazement. He said he was mesmerized, delighting in the similarities he recognized with dances in certain regions of India. “You ought to do a three-month immersion there,” he said tantalizingly, and promised to link us up with the right people. He also encouraged us to create original water sounds (a swimming pool will do, he assured us) and record them ourselves instead of using ready-made ones from other cultures.

Gratifying too, were the appreciative remarks of the conference chairman Dr. Esmeralda Sanchez of the UST Institute of Religion. After the usual picture-taking, and more picture-taking, we lingered in the congenial ambience before piling back into our vehicle. We had hardly entered the NLEX when everyone fell soundly asleep, our hearts full with satisfying cultural fare, confident that our well-received dance offering signaled a good year of dancing ahead.

PANGALAY DURING  AWARDS FOR HEROES OF THE ENVIRONMENT

Environmental workers know the importance of indigenous dances in the struggle to save the planet. Therefore, on 5 December 2013, the Gawad Bayani ng Kalikasan spearheaded by the Center for Environmental Concerns (CEC) invited the “beloved Pangalay Dancers to perform at the awards ceremonies” of the Ikatlong Gawad Bayani ng Kalikasan.

The awards event recognizes outstanding individuals and organizations “who have become part of the people’s movement to defend our environment, lives, and rights.”

The seven-minute performance by Rama Marcaida and Nannette Matilac used a contemporary composition advocating about issues regarding the environment entitled “Mayad Pag Surip”.

The pangalay choreography fused with some Balinese movements along with a mask (to signify the disturbed environment) was the finale of the awards ceremonies held at the convention hall of the Bureau of Soils and Water Management,Visayas Avenue,Quezon City. Photos by Erl Elvina.

“OUT OF TRADITION” CONCERT:   “SMALL STEPS BY CHILDREN” WITH CHOREOGRAPHY OF PANGALAY AND CONTEMPORARY DANCE AT PETA THEATER CENTER, QC

Another opportunity to deliver the message of hope for the ailing environment came on 11 December 2013, during the occasion of the “Out of Tradition” concert by the Bob Aves Jazz Group.

 

One of the highlights of the concert is a choreography of pangalay in contrast with contemporary dance. The fusion of contrasts is the essence of the interpretation of the music entitled “Small Steps” composed by Bob Aves.

The six-minute composition is re-interpreted by Nannette Matilac with a short film composed of images of children creating art works to express what they deem as “Small Steps by Children” to save the planet.

The short film is made possible with the support of LotusBlaze Projects/ DocuCinema Media Collective and the children as co-creators, with their creative visualizations onscreen.

The child artists who shared their “small steps” to save the Earth are Hannah Wadi, Careema Wadi, Ayana Matilac, Juan Martin Paz, Tomas Javier Sazon and  Abigail Aicie V. Lukban.

 

 Nannette Matilac (for pangalay) and Carlon Matobato (for contemporary dance) interpret the Bob Aves composition as the dualities in human nature that may result in destruction or renewal of the earth. The concert started around 8 PM to a full-packed audience at the Philippine Educationa Theater Association (PETA) Theater Center.  Photos courtesy of Al Avellana.

 

Pangalay in Earthdance Manila, September 21, 2013

By Rama Marcaida with photos by Levi Azarcon

Experience giving homage to the great Spirit of the universe, honoring the invisible stewards of nature, acknowledging the ancestors with generous offerings like steamed whole chicken, mounds of kakanin, fresh fragrant blooms and green bamboo containers brimming with native brew blessed by a babaylan.

Relish the sweet air wafting with incense and smoke. Feel the space charged with primeval energy through the organic music resounding from skin drums, gongs, bells and bamboo instruments.

Witness ancient dances being performed to purify the space represented by a mandala and join the small community of kindred souls gathering in an unbroken circle hoping and praying for healing, harmony and abundant harvests.

All these may seem part of a tribal ritual in a remote Pacific island from a distant past. But this happened in 2013–on the 21st of September–right in the heart of ultra-modern Bonifacio Global City on the occasion of Earthdance Manila. The ‘island’ where the ritual for the Earth transpired at the urban oasis called the Arts in the City.

There were healing sessions and seminars on health, spiritual philosophies, the art of the traditional Arbolaryo and Hilot and workshop in pangalay dance. Participants set up booths and exhibits  on organic and fresh produce, vegetarian products, intricate jewelry fashioned from discarded materials, practical products recycled from tarpaulin material, mystical crystals and gemstones, books on Asian spirituality and many more.

The AlunAlun Dance Circle’s participation in the Earthdance Manila 2013, through the invitation of festival organizer Ms. Rosanna Escudero, was a way to bridge the past to the present and to connect the sacred to the mundane. What better way to invoke the gods and spirits than through the ancient dance of our forefathers,  for in beauty, one always sees the divine. Every slow gesture and passage of the pangalay articulated the desire of every participant or spectator to be united with the divine. Pangalay dancing allowed spectators to see the dance of their pre-colonial forebears from the Sulu Archipelago.

The AlunAlun dancers there were not mere performers. They became conduits of the gods to mortals– modern day babaylans that keep the tradition alive through every exacting posture and graceful gesticulation, through every undulating movement, like waves ever gently lapping against the shore, and breathing in unison to symbolize wholeness. All these expressed awareness and oneness with Earthdance’s  loftiest sentiment – PEACE!

 

Pangalay and the Ed’l Fitr Celebration at The Block SM Northe Edsa, 10 August 2013
By Rama Marcaida

For two years in a row now the AlunAlun Dance Circle has been invited to celebrate with the  Ed’l Fitr Festival at SM The Block in Quezon City. This year’s performance on 10 August 2013 was a grant from the National Commision on Culture and the Arts (NCCA) and sponsorship by the Magbassa Kita Foundation.

The concept of the show is very educational and celebratory, a fitting show for the Eid’l Fitr Festival —  Konsiyerto ng Pangalay, mga sagisag ng ating lahi: AlunAlun Dance Circle popularizes  filipino cultural icons in new choreography. The show was structured around Philippine Cultural Icons, the pangalay being one of them.

 

             In keeping with the ADC tradition, the show began with a dance demonstration entitled ‘What is Pangalay?’ explaining why the dance, that is also called igal by the Sama and paunjalay by the Yakan, is a treasured Philippine intangible cultural heritage.

 

 

 

 

 

The colorful patadyong/patajung  or tubular piece of cloth is indispensable in the everyday life of the people in many parts of the Philippines and Asia.  ADC dancers paraded on stage showing off the numerous ways of using it whether as a cradle, a head protection, a hilt for a sword, a shopping basket, a body garb, a sun shield, a belt, a fashion accessory, and so on.

 

Janggay as a symbol of Philippine dance in a choreography with children dancing the pangalay ha agung.

 

The janggay or metal claws, are interesting finger ornaments in dancing Pangalay. The janggay represents Philippine dance in much the same way as the toe shoe represents Western ballet. It is there an apt Philippine Icon and was chreographed with the young children wearing the janggay gleefully imitating a senior dancer. Then, one by one, they got on top of an agung, a huge knobbed gong, while dancing pangalay. A remarkable sight!

 

The show featured intricately designed Laminusa tepo or banig from the Sulu Archipelago,  vividly-dyed and woven in double layers. The playful chreography revealed a dancer coming out from a  rolled-up mat. Then the mat was laid on stage like a carpet for the female dancer to dance onto.  A second mat became the backdrop of a tariray dancer using bamboo clappers. Then the mats were furled out and waved furiously on stage by two male dancers to simulate how the Badjaw quarrel while out at sea, venting out emotions using the mats.

 

 

The lepa, or Badjaw houseboat,  another vanishing Philippine Icon, was projected on the video wall while a group of male dancers danced the occupational dance called tauti, after children playfully glided as fishes on stage.

 

A collaboration with a group of arnis practitioners was the final number of the show. They demonstrated graceful but ferocious moves as two competent fighters spar on stage.

 

 

 

 

Meanwhile, a female sikado practitioner showed stances that looked more of a dance than a martial art. Sikado, a Filipino martial art from the Visayas, was performed in harmony with langka budjang, a martial arts for women in the Sulu Archipelago.

The percussive sounds from the arnis sticks as they hit mounted rubber tires counterpoint with the bula-bula or bamboo clappers. The constant ‘kok-kak, kok-kak’ created by a line of dignified women dressed in black crossing in front of the audience off stage, their regular rhythm contrasting with the outbursts of the arnis, is  a surrealist’s dream come true.

We were enthusiastic to do a pangalay show for the Eid’l Fitr Festival with the Wadi family who hail from the Sulu Archipelago.  The Wadi children and their mother, Joi,  have been dancing with the ADC for more than two years now. Their father, Dean Julkipli Wadi of the UP Institute of Islamic Studies is a kulintangan player himself and an avid supporter of pangalay conservation.

 

Not even the physical condition of our beloved Ligaya Fernando-Amilbangsa could deter her from celebrating Ed’l Fitr. Ligaya danced Igal Kabkab– which is her own original choreography based on the pangalay movement vocabulary–using a flirty fan. She danced the Igal Kabkab  while seated on a wheelchair to show that persons with disabilities can still dance the pangalay. This is during the segment on ukkil that also featured the artworks of first Muslim National Artist   Abdulmari Imao.

Live kulintangan music lent a festive air throughout the show.  As soon as the pangalay performance began, the mall audience became a big crowd as they watched from  five storeys  surrounding  the majestic atrium of the SM The Block.  The show ended with the audience wanting for more.

AlunAlun Dance Circle will always be united with the Filipino Muslim Community  as proven by the Ed’l Fitr celebration year after year.